Jacquemus Le Turismo Fall 2026 Campaign

Review of Jacquemus Le Turismo Fall 2026 Ad Campaign by Photographer Dudi Hasson with models Eva Herzigova, Anthony Thomason, and Magdaleno Delgado

For Jacquemus, dressing seriously leaves plenty of room for mischief. The house’s Le Turismo Fall 2026 campaign, photographed by Dudi Hasson, gives Eva Herzigova the wardrobe and composure of a woman accustomed to making an entrance. Sculptural tailoring, an extravagant hat, and carefully held poses establish the language of high fashion. Then the telephone rings, papers scatter, and two men follow her down the street pushing prams. The polish makes the humor possible. Everyone appears beautifully prepared for a slightly improbable afternoon.

That balance has particular relevance to Simon Porte Jacquemus’s Fall 2026 collection, “Le Palmier,” which brings together 1950s couture shapes, 1990s sensuality, and the satirical humor of the French films and television that marked his childhood. Hasson gives those references a shared environment. In the white skirt suit, Herzigova’s cinched waist, curved peplum, and flared hem create a silhouette whose formality feels almost ceremonial against the pavement. The enormous black hat extends that assurance into theatrical territory. There is pleasure in the precision, and equal pleasure in recognizing how far the image is willing to take it.

Herzigova supplies the crucial movement between elegance and amusement. Across the four photographs of her on the telephone, her expressions suggest an exchange with its own changing temperature. Concentration gives way to surprise and laughter. The sequence lends the campaign a small pocket of private life, inviting us to imagine the conversation beyond the frame. Her casting earns its place through this expressive range. She can hold the sculptural line of the clothes while allowing a moment of comedy to pass across her face. The woman and the wardrobe each have a personality.

Elsewhere, the humor is built into the arrangement of bodies. Herzigova strides ahead while Anthony Thomason and Magdaleno Delgado follow with the prams, turning a familiar promenade into a procession with a very clear leading role. At the pool, the three figures occupy different levels of a diving platform in formal clothes, as though someone has issued unusually demanding instructions for the dress code. These scenes are immediately legible, yet they leave their circumstances unresolved. That economy suits the campaign. A gesture or an incongruous placement gives each photograph enough narrative to prompt a second look.

Le Turismo finds its strongest expression where the accessory participates in that pleasure. Held against the dotted dress beneath a shower of confetti, the yellow bag becomes a concentrated burst of color, its rounded body and knotted detail answering the exuberance around it. The darker bags accompany the more composed passages of the story. Across these appearances, the product acquires associations with a temperament: assured, expressive, open to amusement. The campaign gives the bag a social life, making ownership feel connected to the character of the person carrying it.

For Jacquemus, the strategic achievement lies in making the collection’s formal ambition feel entirely at home within the house’s sense of fun. The photographs ask us to appreciate silhouette, styling, and compositional control while enjoying the personalities that animate them. This is a persuasive way to build desirability around increasingly elaborate clothes. Humor gives their elegance an inviting quality, and Herzigova makes the invitation feel personal. The suit is immaculate. The afternoon is still open to suggestion.